Read Their Lips : Are Madonna, New Kids on the Block and Milli Vanilli singing live or lip synching in concert? Some legislators say it's time for answers

In an interview with The Times, Todd Headlee, who is Milli Vanilli's U.S. manager, would not say directly whether his act lip-syncs on stage. But he did comment on Cohen's New Jersey "disclosure" measure, which mandates that an artist's name appear on the face of a ticket with a notice that the entire show or portions thereof are recorded. Failure to comply could mean penalties of up to $50,000 for promoters and up to $5,000 for authorized ticket vendors.

"The bill is ludicrous," Headlee said. "It would be like Burt Reynolds having to announce before a movie that the hair on his head was not his own, that he was wearing a toupee."

Headlee rejects the idea that fans are being hoodwinked.

"I've seen about 50 Milli Vanilli shows and I can honestly say that there isn't one person who comes to see them who leaves disappointed," Headlee said. "This is the wave of the '90s. Fans demand that dance artists get up there and do a live video. And no one leaves disappointed."

Dick Scott, manager of New Kids on the Block and president of Dick Scott Entertainment, maintains that lip-syncing in certain situations can be a valid solution to the problem of executing elaborate dance routines.

"I love artists who can sing and, personally, I hate to see lip-syncing done in concert, especially when it is obvious," Scott said in a telephone interview from his New York office. "But the problem is that it is very difficult to sing and duplicate specific songs when they require complicated movements and fast-paced choreography.

"If we use a tape, we make every effort to make sure that the tape blends into the show, so that it doesn't detract from the performance. The main thing, as far as I'm concerned, is that the show should be entertaining."

Electronically enhanced singing is not the only technological illusion under attack on the concert circuit.

Music critics and some musicians repeatedly charge that the increased use of electronic keyboards and computer programming has reduced the contribution of live musicians on stage to theatrical mimicry.

They complain that live performances have degenerated into shallow reconstructions of video shoots that seem to place a higher premium on visual spectacle than musical innovation.

With the invention of digital sampling (a process that allows any sound to be digitally analyzed, captured and stored in computer memory to be replayed on demand), and digital sequencing (a computerized player-piano of sorts), the demand for musical dexterity on instruments is diminishing.

Anthony Marinelli of Sonar Productions, a Hollywood recording studio that specializes in tracks generated by the Synclavier--the Cadillac of digital sampling/sequencing instruments--worries about the impact of the glamour-oriented, high-tech concert scene.

"We may be looking at a whole new breed of musician coming up here," Marinelli said. "A bunch of good-looking graduates from the Hair Institute of Technology who can lip-sync."

Marinelli says artists employ sampled vocal and instrumental sounds on stage for a variety of reasons.

"It's cheaper. It's more consistent. It sounds bigger than life and, unlike live musicians, it always stays in tune," Marinelli said. "On the downside, it's like listening to a tape recorder, and to me that isn't what buying a ticket for a concert is all about."

But the concerns aren't just aesthetic ones. Jerry Redmond, vice president of the Musicians Union Local 47 in Los Angeles, worries that modern technology is putting musicians out of work.

Live orchestras employed at resort hotels are probably the most obvious casualties of technological fallout. Following a bitter series of ineffective strikes during the '80s, house musicians in Atlantic City and Las Vegas were given their walking papers and replaced at revues by recorded music.

As a result, Bob Glasel, president of New York's Musicians Union Local 802, says music unions around the country have put down their picket signs and begun to seek relief through legislation.

"It's the same everywhere--pop concerts, dance clubs, casinos, circuses--technology is the trend," Glasel said. "The public is getting ripped off."

At the urging of Local 802, State Assemblyman Jerrold Nadler, chairman of the Assembly Committee on Consumer Affairs, introduced a bill in New York that calls for full disclosure in advertising as to whether instrumental music heard at an event will be live or reproduced.

In California, Local 47 of the Musicians Union and the California State Theatrical Federation have endorsed Assemblyman Bob Epple's plan to introduce a similar proposal in the legislature.

Meanwhile the debate continues.

New Kids manager Dick Scott says "People pay for entertainment and that's all they care about. They want to feel something in their heart. They expect artists to fulfill their expectations, they aren't really concerned with how artists accomplish it."

Scott suggests that any truth-in-advertising proposal is an insult to the intelligence of the audience.

"Take our upcoming tour, for instance. We're going to feature a number of magic acts. Will that mean that I have to alert the audience before every show that when one of the guys levitates or disappears during the performance that it is only an illusion? Is that what it's coming to?"